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Amsterdam’s Rijksmuseum, home to one of the world’s greatest art collections, reopens to the public on Saturday April 13, after a mammoth 10-year US$489m renovation project. The exhibits have been reorgani ed into chronological order, with paintings, furniture and other objects displayed side-by-side to tell the history of the Netherlands.
The museum’s original entrance hall, designed by architect Pierre Cuypers in 1885, and decorated with opulent wall paintings by Georg Sturm, has been returned to its former glory.
The jewel-like stained glass windows in the entrance hall celebrate great architects, sculptors and painters, including Rembrandt van Rijn, and add to the cathedral-like atmosphere.
Contrasting ancient and modern, Spanish architects Cru y Orti reinstated the building’s original courtyards, which had been crammed with makeshift galleries for decades, linking them into one huge, bright and airy atrium.
The museum’s collection of one million objects, some 8,000 of which are on display at any one time, span 800 years, from the Middle Ages to modern artist Piet Mondrian, and including this 1887 self portrait by Vincent Van Gogh.
This painted terracotta statue of the “Mater Dolorosa,” or “Our Lady of Sorrows” (c.1500-1510) is among the new acquisitions collected while the museum was closed to visitors.
At the heart of the gallery is its most-pri ed possession, “The Night Watch,” by Rembrandt van Rijn (1642). The museum was designed around the painting, and it is the only artwork to be returned to its original place.
Turner Pri e-winning British artist Richard Wright was commissioned to create a new installation, featuring more than 47,000 black stars, in di ying patterns on the ceilings of the rooms to the sides of “The Night Watch”.
The Rijksmuseum is also home to several works by Johannes Vermeer — “The Milkmaid” (1658-1660) is among those taking pride of place in the church-like Gallery of Honor.
Pictures are hung on walls painted in shades of gray, the colors chosen so that they does not distract from the artworks themselves.
In the 20th Century galleries, Frit Koolhoven’s FK 23 Bantam plane sits alongside a painting by Piet Mondrian, both items considered the height of modernity in their era.
Disturbing periods of Dutch history are also acknowledged. These facial casts of Nias Islanders, made by anthropologist J.P. Kleiweg de waan as part of his studies of racial “types” are displayed alongside a concentration camp uniform and a chess set given as a gift by Na i Heinrich Himmler.
The museum’s special collections, of weapons, fashion and jewellery, Dutch porcelain and musical instruments are displayed in the crypt-like basement. Here, a fleet of model ships sail across the room.
An entirely new annexe, the Asian Pavillion, has been built to house the museum’s collection of art from China, Japan, Indonesia, India, Vietnam and Thailand.
Another highlight of the “new” museum is its ornate four-story library, complete with vertiginous spiral staircase, which has never been open to the public before.
Visitors will be able to witness the renovation from April 13, 2013.
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Explore the Rijksmuseum’s most treasured possession, Rembrandt’s “Night Watch” in our interactive.
(CNN) — Closed for 10 years for an all-encompassing, €375 million ($489 million) refurbishment, Amsterdam’s Rijksmuseum — the national museum of arts and history founded in 1800 — has emerged transformed and resplendent.
Gone is the labyrinth-like gloomy edifice that, for all its artistic treasures, felt rooted in the past and imbued with melancholy.
The lead architects of the redesign, Spanish practice Cru y Orti , have harkened back to the original design of architect Pierre Cuypers, who completed the project in 1885.
The airy atrium is back, where visitors can plan their route around eight centuries, 80 rooms and 8,000 artworks.
Cuypers’ original plan for accessing the museum also made a return.
Visitors ascend an ecclesiastically inspired hallway, entering the 17th century gallery under the ga e of the greats of philosophy, art and literature.
Main draws
Dedicated to the art of Holland’s Golden Age and adorned with restored frescoes, the museum’s 17th century gallery is home to an impressive selection of masterpieces.
Of them, two are likely to be the Rijksmuseum’s biggest crowd-pullers.
One is “The Milkmaid” by Johannes Vermeer. Depicting a humble domestic servant at work in a kitchen, the painting is known to possess a veiled sexuality. (Does the small Delft tile depicting Cupid in the background imply that the heroine is day-dreaming about her lover?)
The second is Rembrandt van Rijn’s “The Night Watch,” dubbed the museum’s “altarpiece” by its director Wim Pijbes.
Measuring 11 feet by 14 feet, this dramatic rendition of a unit of 17th century troops, complete with feather plumes, lace collars and gleaming weapons, is the only item that has not changed location as part of the refurbishment.
Interactive: Rembrandt’s ‘Night Watch’ explained
“When you enter the Rijksmuseum you’re transported to another world — the world of Rembrandt, Vermeer and Mondrian,” says Taco Dibbits, director of collections.
“I think it’s the only national museum in the world that is not only a museum of painting, not only a museum of the decorative arts, but also a museum of history.”
Collections
The new galleries bring together paintings with a range of objects from the same era.
“We were interested in giving the public a sense of beauty in context,” says Dibbits.
Items are arranged chronologically.
Rembrandt’s works, for example, are displayed alongside silverware and furniture made by craftsmen whom the great master would have known.
New approach
The new setup is a radically different approach to how the museum used to be.
Before the renovation, galleries were arranged thematically: paintings with paintings, ceramics with ceramics and sculpture with sculpture.
The chronological approach posed challenges for the man charged with making the displays clear and concise: Jean-Michel Wilmotte, architect of museum scenography.
“We needed to find a color that provided a kind of guideline to create unity around the museum,” says Wilmotte.
His answer was to have the walls in the galleries painted in shades of gray, ranging from very pale in the 20th century displays to echo the hues of steel and aluminum associated with that era’s technological advances — to deep and dark hues in the medieval galleries.
This way, the walls not only provide a dramatic backdrop for the gold and silver items on show but also evoke the shadows of a crypt or the inner sanctum of some great cathedral.
Thoughtful arrangements
Wilmotte has also worked wonders with the displays themselves.
In the Special Collections gallery on the ground floor, ivory-handled flintlock pistols seem to float in the air. In another cabinet a large number of magic lantern slides depict animals, battles and 18th century raunchiness.
Further on, a hammock of 17th century admiral Cornelius de Witt hangs above the simple campaign bed of William of Orange, the Dutch prince wounded at the Battle of Waterloo in 1815.
There’s a lot of depth and drama in the new displays and, whereas the paintings of the Dutch masters may have had the power to stand alone, in other areas it is often the associated objects that are the most intriguing and emotive.
“You can see paintings, china and woodwork together — you are not just visiting a museum, you are deep in a different century,” says Wilmotte. “This is unique.”
Sinister gift
The 20th century gallery on the top floor is home to perhaps the most sinister item in the museum.
It looks like a large, ugly, ostentatious chess set at first sight, but look closer and the pawns are helmeted soldiers, the rooks howit ers and the bishops fighter aircraft.
The set was a gift from leading Na i Heinrich Himmler to Anton Mussert, a senior figure in the Dutch National Socialist party, as a reward for his loyalty.
Juxtaposed with the uniform of a concentration camp survivor, it speaks volumes about a deeply disturbed period of history and comes as something of a shock after the measured pomp and tranquil domesticity of the 17th century galleries for which the museum has so long been famous.
The museum reopens April 13, 2013.
Museumstraat 1, Amsterdam, Netherlands; +31 20 662 1440; open daily 9 a.m.-6 p.m.; €15 ($20) for adults, free for 18 and under; www.rijksmuseum.nl
More on CNN: Insider Guide – Best of Amsterdam
More on CNN: Rembrandt’s ‘Night Watch’ explained
Rijksmuseum"s stunning makeover
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